“Sometimes, it is not a good thing to be recognized by government officials, because it may compromise an individual’s artistic integrity. The state may request that you work collectively with other artists on a pre-selected theme for instance, to decorate a hotel with a mural, but the work might be interpreted as propaganda.” These are the wise words of Cuban contemporary painter, Sandra Ramos, who explores nationality, gender, and identity in her work. Artists like Ramos understand the gamble that coincides creation in a socialist state like Cuba. Despite this culture of intense oppression, the hardship endured by thousands spawned generations of artisans that find creative methods of expressing themselves.
The Cuban Revolution and Castro’s reign had harsh implications on a multitude of cultural principles; notably, it had serious ramifications on the creative community. The nation witnessed incredible disruption in a short amount of time, leading to many periods of change. Through this era of rebellion, the artists of Cuba embraced the complex processes of ongoing opposition between preservation and transformation in culture and identity that was unique to their nation and unaffected by the popular culture.
The year 1959 brought censorship to Cuban art, as Castro took power, all art became sponsored by the government. This divided the artistic community within creative centers like Havana, many artists fled to pursue their careers in exile, but others chose to stay. Many of those who remained in Cuba began to create art that critiqued their government in unconventional ways, breaking the rigidity that had been imposed through the Sovietization and demolishing the concept of conventional propaganda art. It is through these ideologies that berthed what is known as the Cuban Renaissance, a time of immense alterations to past schools of thought, that was characterized by two movements. These movements were, the artistic avant-garde and the Afro-Cuban movement, they both played a crucial role in the creation of expanded space for societal debate and cultural expression.
The Afro-Cuban movement of the late 1960s and 1970s was politically charged but at its core was an intellectual, and cultural movement that was composed of intellectuals, visual artists, filmmakers, and writers. Taking note from the past, these change makers reinvigorated commonplace Afro-Cuban motifs through the lens of radicalized modernity. The Cuban avant-garde movement is the first time contemporary Cuban artists evoked the next wave of a more European style of art, seeking to engage in a dialogue with international communities and inform others of their hardships. A strong example of the avant-garde era art and what was attempting to be conveyed is a sculpture by artist Florencio Gelabert Soto, entitled, ‘Immediately Geographic.’ Soto sculpted the shape of Cuba, but he intentionally broke it into many pieces. One interpretation of the piece could potentially reflect the ongoing unfair and unequal treatment towards Cuban artists, and their repression under Castro.
Despite the insurgent actions of these artistic communities, the socialist and restrictive art economy persists, undermining an open and enlightened artistic community and forcing their corrupt ideals. Proposal for new regulations carry on, for example, in 2018, newly instated president Miguel Díaz-Canel signed a proposal for Decree 349, a motion consisting of vague parameters that regulate all artistic and cultural activity in Cuba. With that said, the revolutionary spirit of Cubans remains unwavering in the face of fascism. A group of Cuban visual artists and curators have taken a stand against the government’s criminalization of their artistic endeavors through a series of protests and performances.
If Cubans want to undergo meaningful change regarding the arts, it will need to stem from the motivations of exterior forces. The continuation of attempting to catch the eye of the international community through unconventional critiques of the regime will be paramount in Cubas future.
Questions:
Does the scarcity of the international display of Cuban art make it more exotic? Is this only due to the United States travel embargo, or are there other elements at hand?
Rubén Gonzáles, the pianist for the Buena Vista Social Club, said the following, "There was very little money in it, but everyone played because they really wanted to. Now, people play more for money than for the love of it; now there's more business and less talent.” With all that we as a class have read, do you agree?
I like how this post emphasizes how not all elements of the art revolution in Cuba were positive. It is too bad that censorship drove many artists out of the country, but it seems that it was one of the reasons the art is valued so highly today. I love the quote by Gonzáles that you included, and I can agree with what was said. I believe now that money is associated so much with their art now, the passion and effort behind the work is gone.
ReplyDeleteHello! I really like the part of your post where you talk about how Cuba art was used to protest agented the government in an indirect way! Even though by Cuba artists doing that they still risked retaliation from the government.
ReplyDeleteI like how you break down the motives of each movement and explain that these were artist created movements and driven by communities. I would say it boils down to the artist and why they are creating. That being said money talks and may push one to do things they may not have with out it as a reward. Different art comes from different rewards as well.
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